Panther's picks - Hothouse Flowers: People - 1988


I remember buying this debut album from Irish band Hothouse Flowers on the back of their very Van Morrison-esque single Don't Go. Amazingly, for such a strong debut album, it has almost been completely forgotten but for a while, back in 1988-89, I played little else. Maybe time hasn't been kind to it, but I am nostalgically enjoying my revisit to its Celtic charms. For some reason, by the way, the cover photo was intentionally blurred.

The album is more than just that single, though, contains some pretty solid stuff, particularly the soulful rocker that it opens with - I'm Sorry. The Flowers were a five piece band, driven along by charismatic new-age traveller-looking singer Liam O'Maonlai's piano and an often rousing saxophone from Leo Barnes. They had that Irish showband feel to them in a way, but they were far more of a rocking soul outfit than that. I'm Sorry is characterised by its strong female backing vocals behind O'Maonlai's lead from Claudia Fontaine. Also providing back ups on the album is a soul name from the seventies - Jimmy Helms, known for his hit Gonna Make You An Offer You Can't Refuse.

The afore-mentioned Don't Go is pure Van Morrison in its lyrics about fresh cut grass, wild horses, blossoms in the avenue and black cats lying by a gatepost. It also has a vibrant, fast-paced soulful backing that just about makes it a Hothouse Flowers song as opposed to a Van Morrison one. They have definitely put their stamp on it, but The Man's influence is all over it. 

Forgiven is a slow, very Celtic-sounding ballad, something about its melody and guitar sound. Again, it has shades of Van. Soulful gospel airs are all around on It'll Be Easier In The Morning. I am very conscious of repeating myself about the Van thing, but, once more, there are definite little bits of his influence here and there throughout the song. Anyway, it is another robust song, full of intrinsic soul.

My favourite on the album has always been the wonderful, insistent doo-wop-backed Hallelujah Jordan, a song that builds up wonderfully and the lyrics are great. "He was young, they had a young spirit, they could have kissed all night". Van Morrison has got together with Bruce Springsteen, Bono and Phil Lynott and come up with little gem of a song. Check it out - now!

Some fine, mournful saxophone introduces the sombre ballad If You Go. It's a nice song but possibly a minute too long. Again, though, it is high on the soul-o-meter. It has a lot of U2 echoes in it too, mainly on the vocals and melody. One downpoint about the album is that there are quite a lot of similar-sounding big, portentous ballads such as this one and the next one up, The Older We Get. It tends to get a bit bogged down at this point in the album. They are good tracks though, but quite similar and ponderous. A problem that the Flowers maybe had is that they couldn't really shake off their influences, like a couple of other Irish bands in The Boomtown Rats and The Strypes. The influences are so strong and pervading that although they had a definite individuality in appearance and approach, they were also prisoner to their muses. 

Getting back on track a bit is the upbeat, harmonica and cowbell-driven groove of Yes I Was and the most soulful cut on here, the Stax punch of Love Don't Work This Way. The latter features Jimmy Helms on prominent backing vocals. Great keyboard solo mid-song too. 

Ballad Of Katie returns to the grinding ballad style again, but, although it is over six minutes long it has something melodramatic about it. There's a stonking wailing saxophone solo in the middle too. It must be time for a rocker again eh lads? We duly get one in the riffy soul of Feet On The Ground. Good track. The semi-spoken bit near the end is just so Bono, isn't it? A typical serving of Flowers-soul/rock is served up in the muscular, bassy Lonely Lane. This impressive debut ends with the mysteriously moody ballad Saved. 

Listening to the album now, in 2023, I feel it could do with a remastering, though, it has that distinctive early days of CD AAD sound that you need to turn up considerably when playing it. 

One final memory of Hothouse Flowers for me is seeing them play live at Birmingham's Digbeth Irish Centre in front of a packed, enthusiastic sound. A fine memory. 

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